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A cop named Myrtle Spurge has just sent a collection of Dr. Kincaid’s past pornographic exploits to Chancellor Meatballs, the man in charge of the school where she is employed. Her goal is to get Kincaid fired, and it’s probably going to work as this is a clear violation of the institution’s ethics policy.

From here we head to Splurge’s house. She masturbates before her alarm goes off and then gets down to cop business – sexual cop business that is – before the kids get up and want pancakes. She gets word from her posse that there’s work to be done and we watch her head to work at the precinct where she works behind a desk – always masturbating but never finishing, to keep herself on edge.

From here, we learn about a man named Todd Stubaker, a skell who was ‘bent as a kid and never unbent.’ Despite a fairly normal upbringing, his mom’s tendency to offer up affection only on her own terms and her own schedule turned Todd into a ‘sexual weirdo.’ It made Todd find ways to get her affection when he wanted it – a broken toy or, as he got older, a self-inflicted injury. This lead to an adulthood where Todd got interested in some increasingly kinky activity in an attempt to fill the void that could not be filled. Eventually, Todd became a sex criminal, but he has trouble perfecting what Susie and Jon got to be so good at. Eventually he starts using totems to get what he wants and when it proves effective, he starts making ‘fuck Smurf’ totems and leaving them around where they can and will be stepped on. That’s his kink.

Splurge and her fellow sexual cops are tracking Todd. They track him to the mall where Splurge takes it upon herself to destroy all of his totems before he can get the release he wants. They catch him and Splurge talks to him about the importance of not getting caught – he could ruin it for the rest of them. The cops warn him, and take off. After that, Jon wanders into the parking lot and talks to Todd. It seems like Jon hasn’t moved on after all…

This series seems to get weirder with each subsequent issue but there’s no denying the bizarre creativity and addictive storytelling talents that Fraction and Zdarsky bring to the series. Again, there’s a wick sense of humor here – be it the references to Brubacker and Phillips’ Criminals or a Paul Rudd joke, it pays to notice the details here, you’ll get more out of it. Of course, its’ all very perverse, it’s been that way from the start, but there’s still enough heart and genuine character development here to make this series more than just a series of dick jokes or masturbation gags. We get those too, but there’s a whole lot more going on and the guys behind the book seem rightly hellbent on exploring it all. This book has yet to disappoint.